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This film was edited using Avid Media Composer

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For our poem, by using a colour scheme of deep browns and greens, we can create a visually compelling and immersive atmosphere for our audience that showcases the natural underscore of our story.

This palette evokes a feeling of organic realism, following our poem, these colours are rooted in naturalism. The idea of 'death' is a natural thing, and the deep browns signify a connection to the earth. Juxtaposed with deep greens, there is a subtle sense of mystery and an evoked feelings of growth and renewal.

These colours will allow us to enhance the emotional depth of our poem, creating a mysterious backdrop for our protagonist's journey.

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This project was colour graded using Davinci Resolve.

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Adobe After Effects was used to add VFX to this film.

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We began by piecing together a narrative on the timeline, using the shot list as a reference. As this rough cut progressed, we decided that the location should be established before our protagonist is introduced; this helps to signify the fact that the subject is alone in this new world, creating an eerie atmoshpere.

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We then added a forest soundscape and music - this further supported our abilities to construct a cohesive narrative in the edit. A high-pitched tone accompanies the black screen at the beginning to create a sudden sense of unease within the audience. The rough cut was then altered slightly to suit the audio.

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"‘Lights Out’ by Edward Thomas is a haunting poem that uses an extended metaphor to compare the world of sleep to that of death."

The first stanza of this poem follows the writer as he realises he is on the brink of death. There is a sense of acceptance as he explains that this happens to everyone.

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Lights Out by Edward Thomas - Poem Analysis

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‘Lights Out’ is a haunting poem that uses an extended metaphor to compare the world of sleep to that of death.

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The writer finds themselves on the brink of death, using sleep as a metaphor to describe this.

Wide shot of the protagonist waking up and looking at their surroundings, close ups of what they find - trees, moss, flowers & other foliage.

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Death is seen as the unknown - it cannot be explored or determined

The protagonist begins to explore the area they find themselves in - close ups of their confusion, wide shots to show their isolation. Camera pans follow them as they move through the forest.

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Compares death to a forest - somewhere you can easily get lost in if you don't know the way.

Establishing shots of the forest itself, zoom out as the protagonist walks further away.

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Their way, however straight, / Or winding, soon or late;

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Their way, however straight, / Or winding, soon or late;

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It doesn't matter what path someone takes in life, they will always have to face their own death.

The protagonist begins to panic as they realise there's no way out - more close ups, quick cuts to show their frustration and create an overwhelming atmosphere.

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Death comes to all people, it's not avoidable.

More movement within shots, possibly handheld, to add to the chaos - the protagonist has lost control.

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When we arrived at our location and started filming, we experimented with different approaches, which led to some deviations from our original shot list. We came up with new ideas on the spot but used the shot list as a foundational guide to ensure we captured all the necessary shots for a cohesive film.

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Sony FS7

Rigid and lightweight

Magnesium frame

Shoulder mount without the use of rigs, therefore it saves money. Easy to switch to handheld and can be used comfortably for long periods of time

α mount lens system

180 fps High frame rates, allows for slow-motion without any loss in bit depth or angle of view

XQD cards are reliable and affordable

Sony 28-135mm E lens

Three control rings for optimal manual control

Quiet powered zoom

Constant F4 maximum aperture throughout zoom range

Dust and moisture resistant design, ideal for shooting by the ocean

T3.1 14mm ED AS IF UMC II

T1.5 24mm ED AS IF UMC II

T1.5 35mm AS UMC II

T1.5 50mm AS UMC II

T1.5 85mm AS IF UMC II

Semi-telephoto manual focus cine lens

Change the aperture quietly and smoothly with the uncoupled aperture gear ring

High-strength aluminum

T numbers are marked on both sides of the lens for convenience

Detachable petal-shaped lens hood minimizes flare and ghost by sheltering lens from unnecessary lights

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‘Video’ - ‘Output Setting’ - HDMI Target Device: Monitor

‘User’ - ‘Base Setting’ - Shooting Mode: Cine EI

Colour Space: S-Gamut3.Cine/Slog3

Scan Mode: Normal

‘Codec’ - XACV-I

‘Monitor LUT’ (Look-up table - colour design for the camera)

SDI1 & Internal Rec: No LUT when filming Cine EI - we want completely ungraded footage to go in there

‘Media’ - ‘Clip’ - Details of shots

MAKE SURE MEDIA IS FORMATTED

Shutter speed 1/50 25fps

‘User’ - ‘Base Setting’ - Imager Scan Mode: Normal

In order to get longer on the lens - 2k Center will crop your image (trick to turn 135mm into 250mm)

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Metabones Lens Adapter & Case

Required to mount prime lenses onto Sony FS7

Interfaces between lens and camera

CamRade Wetsuit Rain Cover & Case

Form-fitted

Tailor-made of water-resistant near silent fabric

Protection against bad weather conditions

Good to have on hand, in the case of rain and no suitable places to shelter in the woods

Easy and quick to apply and remove

Vinten Pro 5 Tripod

PH5 pan & tilt head

Made from aluminium

Adjustable leg locks and floor spreader, ideal for shooting in the woods

Standard leveling bubble

IDX Battery Charger

Essential in order to charge camera batteries and light batteries

Needs to be plugged into mains, not ideal in the woods but batteries can be charged at home if needed

Arri 7g Sandbag

For use with lighting stands (C-stands)

Allows extra protection from lights knocking over, whether that be from people tripping, weather conditions or uneven terrain.

Can be used to secure tripod if needed

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Relevance & Characteristics

A dense woods with a multitude of pathways, open spaces and water

Works well as the primary location for our poem as it contains a winding path (which is mentioned), trees and a lot of space to work with

Logistical Concerns

Lack of power: must ensure batteries are fully charged before leaving to shoot

Popular dog-walking spot: must be mindful of dogs around equipment, potential aggression and dogs being in frame

Terrain is uneven: must ensure tripod is secure when shooting, be mindful of tripping hazards and carrying equipment up and down hills

Lack of shelter in case of bad weather conditions: must ensure we have a rain cover on hand for the camera and umbrellas and bin bags to cover other equipment

Public area: must ensure no kit is left unattended due to potential theft

Next to main road: may cause potential issues with any sound recording on location

Logistical Benefits

Natural setting provides a visually stunning backdrop that enhances production value without the need for extensive set design or construction

Natural light and organic scenery can contribute to a more authentic and immersive atmosphere

Easily accessible car park, nearby to the woods which allows for easy transport of kit

Toilet facilities nearby

Food and drink available nearby

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As this location is outside and unblocked by buildings, the sun will play a big part of the shot

To maximize the sun's location, it would be best to shoot during a more overcast day at midday

Trees will block parts of the sunlight, casting shadows into ours shots. We must be mindful of this

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Very useful all-round shot, useful to establish but to also showcase the protagonist

Lake adds variety and textures to our shots

Might be mindful of the sun reflecting off the water and creating over-exposure

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Very useful wide-shot, showcases the surroundings to set the scene

Path could be used to represent the 'winding path' that is described in the poem

Location is remote, there are no houses or buildings nearby that would ruin the immersion of our poem

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In "The Borders of Sleep," a young woman awakens alone in a vast, unfamiliar forest, surrounded by endless trees. Confused, she begins to navigate through the enigmatic woods, seeking an exit. As she ventures deeper, she encounters increasingly bizarre occurrences.

Her growing anxiety leads her to realize something is terribly amiss. The forest seems endless, with paths that loop back to the beginning, and it becomes clear that the forest does not want her to leave.

This forest represents her purgatory, a limbo in which she is trapped with no apparent way out, damned to wander down the ever winding path to her afterlife.

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Upon reading the poem 'Lights Out', our initial thoughts were focused on the recurring motif of nature representing death.

In the poem, Thomas uses nature imagery as a metaphor for the inevitable cycle of life, comparing it to a 'winding' path and a forest where 'all must lose their way'. The phrases 'unfathomable deep' and 'forest' in the poem serve as metaphors for the mysterious nature of death, depicting it as a realm where paths merge and travelers become disoriented, symbolizing the conclusion of life's journey.

The poem's mood can be seen as reflective and tranquil, rather than anxious, portraying a peaceful acknowledgment of death. The quietude and immobility of the woods create a feeling of tranquility instead of dread. Alternatively, it could be perceived as considerably more ominous, as the phrase 'they cannot choose' leaves room for interpretation. The concept of a 'deep forest' might instill dread, suggesting a fear of the unfamiliar, trapped without choice or control.

The poem employs imagery associated with sleep, contemplating the certainty of death and likening it to tranquility. The phrase 'the borders of sleep' could signify the transitional state between life and death within the natural cycle of life. Using vivid language and imagery, Thomas encourages readers to ponder the interconnection of existence, mortality, and the subconscious world of sleep.

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To expand upon our initial concepts, we opted to embrace the poem's metaphor quite literally by planning to film within a forest setting. This maintains the simplicity of our film, featuring a lone protagonist journeying through the woods. Additionally, we explored the notion of 'limbo'. The term "limbo" has various meanings based on the context:

In Christian theology, it refers to a state or place for souls not assigned to Heaven or Hell.

Additionally, limbo denotes a transitional phase where an individual is caught between two stages, signifying a period of uncertainty, suspension, or waiting without progress.

Most of our film will remain a mystery to our viewer and left open-ended and up to interpretation, as does the poem. Our protagonist will walk through the woods, visually capturing the poem's introspective themes of mortality and the cyclical nature of life. As time goes on, our film will grow increasingly tense and frantic as our protagonist comes to the realization that there is no escape. She will pass by trees that return her to her starting point, and no matter how far she travels, the winding path will never end.

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Cinematographer Emmanuel Lubezki utilizes natural lighting to create a visceral and immersive visual experience in "The Revenant" (2015), emphasizing the film's harsh and unforgiving setting. Known for his innovative techniques, Lubezki predominantly relied on using natural light sources throughout the film.

The widespread use of natural light emphasizes the vastness and solitude of the wilderness. The expansive, untouched landscapes, illuminated by natural light, highlight the insignificance of humans against the backdrop of nature's might.

We will incorporate this approach into our film, using natural lighting on location to enhance our storytelling. The stark, unfiltered light will create harsh shadows on our protagonist, reflecting her dangerous physical and spiritual journey. Additionally, it will showcase the natural beauty of our setting, emphasizing the idea of the environment as an ever-present, living entity observing her.

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The Revenant: Cinematography of Nature Worship

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'The Borders of Sleep'

Lucy Chapman & Amaia Power-Razkin

up2052561 & up2103005

Log-line

'A woman wakes up in the forest with no memory of how she got there. As she explores, she realises she in trapped in limbo, walking through the lands between life and death.'

Introduction

'The Borders of Sleep' is a short film based upon the poem 'Lights Out' by Edward Thomas. It explores themes of the inevitability of death, the subconscious world of sleep and what may lie in between.

Structure

Opening Scene

Our protagonist finds herself waking up in a forest, with no memory of when or how she got there. She looks around, confused, and begins to traverse the mysterious woods in search of any answers.

Climax

As she explores, she begins to get progressively more panicked. There is no way out. No matter where she goes or what route she takes, it's almost as though the trees keep taking her back to where she started.

Resolution

The short film finishes on our protagonist walking down the path, with no end in sight. She walks, accepting her fate.

Characters

Unnamed Protagonist: A girl in her early 20s, wearing standard clothing. Determined, resourceful, and growing increasingly desperate. Her journey encompasses both physical and psychological challenges.

Setting

A dense, eerily empty forest. It's natural beauty creates a false sense of hope, with an endless winding dirt path through the middle, it lures in the disoriented souls that walk amongst the trees.

Visual Style

The film utilizes a dark color palette with desaturated, deep greens and browns, evoking a sense of mystery and an eerie, uneasy atmosphere, while also highlighting the natural beauty of the environment. Many shots will be wide and angled, immersing the viewer in the forest alongside the protagonist.

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This is an establishing, opening shot, using a 24mm lens to create a wide shot that showcases the woods and the winding path that plays a central role in our film. The greens and browns contrast eachother, and give the forest a personality of its own. This shot sets the scene for the rest of the film, the forest lying in wait.

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Similarly to the previous shot, the is a wide, establishing shot using a 24mm lens. Likewise, it humanises the forest and begins to build a picture for the audience, setting the scene for what is to come. The contrast between the water and the foliage creates texture in the shot, making the frame very visually interesting.

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Another establishing, wide shot with a 24mm lens. It once again sets the scene and begins to build the atmosphere and environment. It also gives the audience a head start, before the protagonist wakes up.

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This shot finally reveals where the subject has woken up, it is a wide shot to truly show how small she is in comparison to her surroundings. Our protagonist also looks purposefully out of place, with her dark outfit contrasting the greenery around her, sparking curiosity in our audience. Why is she here?

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This shot is introducing our character in a way that the audience shares the same confusion as her. She opens her eyes and as a viewer, we wonder why she is there. The shot is tight, replicating the way she feels as she comes to her senses. She wakes in a startled way, sudden and abruptly to juxtapose the previous peacefulness of the environment.

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A mid-shot of our protagonist as she sits up into frame, panting and looking around. It showcases the expression on her face and her initial confusion, without giving too much away.

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These shots are close-ups of the surroundings, building the atmosphere without revealing too much of where our subject has woken up just yet. It creates anticipation whilst giving our audience more context, almost mimicking our protagonist as she looks around.

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These shots are close-ups of the surroundings, building the atmosphere without revealing too much of where our subject has woken up just yet. It creates anticipation whilst giving our audience more context, almost mimicking our protagonist as she looks around.

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These shots are close-ups of the surroundings, building the atmosphere without revealing too much of where our subject has woken up just yet. It creates anticipation whilst giving our audience more context, almost mimicking our protagonist as she looks around. The title 'The Borders of Sleep' will be shown in this frame.

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This shot finally reveals where the subject has woken up, it is a wide shot to truly show how small she is in comparison to her surroundings as she looks around and stands up. Our protagonist also looks purposefully out of place, with her dark outfit contrasting the greenery around her, sparking curiosity in our audience. Why is she here?

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This shot follows our subject's gaze as she looks up into the trees above her in awe, the angle of the shot helps give the trees a more ‘towering’ feel above her as she looks up. This creates a more foreboding feeling, as though the trees are stretching around her to trap her.

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This is an establishing, wide shot, using a 24mm lens to create a wide shot that showcases the woods. They almost 'look back' at our protagonist, as though they are a character in themselves.

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Since the protagonist has woken up in this mysterious place, she looks down at her hands to almost ask ‘Is this real?’. She stands out against the greenery behind her, creating contrast.

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The close-up of her hands shows that she is shaking ever so slightly, perhaps in fear or maybe in anticipation? This is shot handheld to replicate the shaking of her hands.

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Our subject begins to walk, they walk past the camera and out of shot. This leaves the audience to wonder what’s behind the camera, and where she is walking. What lies ahead? Once again, the shot is wide using a 24mm to highlight how small she is in comparison to the surroundings.

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This shot is almost an over the shoulder shot from the tree’s perspective. The subject can be seen past the tree as she walks. This almost personifies the tree, giving the feeling that the trees are watching the subject as she traverses the woods, clueless.

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This is wide shot, using a 35mm lens to create a shot that showcases the woods. They almost 'look back' at our protagonist, as though they are a character in themselves. There is a focus pull, once again personifying both trees that can be seen in frame.

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The subject walks through the woods along the path whilst touching her surroundings as she goes past. It shows her appreciation and curiosity as she ventures forwards and the naivety of where she is. She is in blissful ignorance for the time being.

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This shot follows her as she touches the foliage. The tracking shot will evoke the feeling that the audience is walking behind her, immersing them into the feeling of wonder.

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Our subject begins to walk, they walk past the camera and out of shot. This leaves the audience to wonder what’s behind the camera, and where she is walking. What lies ahead?

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As she walks, she turns a corner and touches the tree as she goes past in appreciation. The subject disappears from shot, walking past the tree. The shot will cut when she is no longer visible.

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The subject then reappears from behind a different tree. She stumbles out from behind it, now moving in the opposite direction and breaking the 180 degree rule. The tree acts almost like a ‘portal’, controlling where our subject is going without her knowledge and further personifying the forest as a living, breathing being.

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She looks back at the tree, reaching out and touching it in confusion. This gives that same tree a personality, as it looks back at her.

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The subject is now confused and progressively becoming more panicked, she begins to walk in the opposite direction with more haste. She is determined to find some answers and a way out.

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She touches the foliage as she goes past, but this time it is a quick touch rather than in appreciation like before. Almost as though she is in a rush, potentially retracing her steps.

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This is shot is from a lower level, angling up towards her as she looks at the trees surrounding her. This helps evoke the feeling that she is utterly surrounded, almost tracing her line of sight.

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These are POV shots from the eyes of our protagonist, they are handheld and looking around. The shaky handheld feel will reflect our subject's panic and immerse the viewer in her eyes. A 50mm lens was used due to the fact that it has the closest field of view to a human's eyes, further creating immersion.

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This shot is a handheld tracking shot, this replicates the panic of our subject as she walks quickly through the forest with subtle and deliberate shakiness. This time, she doesn’t touch the plants as she goes past. Instead, she moves further and further away from the camera, as though she is running ahead.

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These are POV shots from the eyes of our protagonist, they are handheld and looking around. The shaky handheld feel will reflect our subject's panic and immerse the viewer in her eyes. A 50mm lens was used due to the fact that it has the closest field of view to a human's eyes, further creating immersion.

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The subject disappears from shot, walking past a tree. The shot will cut when she is no longer visible. She touches the tree as she goes past, rushing in her state of panic.

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The subject then reappears from behind a different tree. She stumbles out from behind it, now moving in the opposite direction and breaking the 180 degree rule once again. The tree acts almost like a ‘portal’, controlling where our subject is going without her knowledge like previously. Similarly to before, the 24mm lens creates a wide shot that showcases her insignificance to the forest, she is trapped.

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This is shot is from a lower level, angling up towards her as she looks at the trees surrounding her. This helps evoke the feeling that she is utterly surrounded. There is a look of defeat and acceptance on her face.

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This is wide shot with a 35mm rather than a 24mm, to replicate the feeling that her surroundings have closed in on her. She walks down the winding path, this time she isn't rushing. The shot is stable and no longer handheld, showcasing her acceptance to her fate as she walks further into the distance.

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This is the final shot of the film, with the credits shown. It creates a sinister feel and eerie feel as the protagonist is not in the frame and the wide shot makes the forest feel expansive and ever-growing.

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The Art of Natural Lighting in Cinematography

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The camera report sheet reflects the different shots we experimented with when it came to filming on location, as mentioned previously.

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The shoot was incredibly successful as we had given ourselves enough time to get all the shots we had planned for, as well as experiment with new ideas on the day. Issues arose regarding sound due to the busy road nearby, but this was able to be fixed during post-production.

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The natural light shines through the gaps in the trees, creating contrast in the shot and emphasising their height and power over the people below.

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The natural lighting in this shot creates quite a dark, gloomy image. The greens and browns and deep and evoke an eerie atmosphere.

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"Princess Mononoke," directed by Hayao Miyazaki and produced by Studio Ghibli in 1997, is celebrated for its detailed and complex portrayal of nature. The film's cinematography is essential in expressing its themes in relation to the natural environment.

The film includes expansive shots of vast forests, mountains, and rivers. These meticulously detailed landscapes highlight the lush, vibrant beauty of nature. Utilizing natural light, like sunlight filtering through trees, enhances the emotional connection to the forest, creating a serene and magical atmosphere. The color palette of vibrant deep greens and earthy tones adds to the sense of mystery.

From this film, we will take inspiration from the detailed landscapes in order to build our own world. We will utilise the peaceful nature of the forest, using the sunlight to create a 'dreamy' atmosphere whilst also amplifying the mystery of the forest.

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In this shot, the environment is used to frame the subject. The tree contrasts against the subject's clothing, amplifying that they are out of place in their surroundings.

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In this wide shot, the sun is shining through the trees and creating a very 'dreamy' atmosphere.

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Once the order of shots was confirmed, we began adding effects to the timeline. This included resizing some shots, flipping others, and adding movement to certain clips, such as zooming into her face, in order to highlight the confusion and tension felt by the protagonist.

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We began by importing an AAF file of the picture locked film from Avid.

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The footage was shot on a Sony FS7, so we had to input a colour space of Sony-S.Gamut3 and a gamma of Sony SLog3. This gave us an idea of how the image would appear on a range of output monitors.

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We then adjusted each image individually so that there was a consistent basic grade. This included adjusting the contrast, highlights and saturation.

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A 'look' was then added to the project, establishing the darker tones and green hues we planned to enhance. This look helps to negotiate to the audience that our protagonist is in an unknown, and potentially hostile, environment.

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The subject's hands and face were altered slightly from the initial look to ensure that their skin tone wasn't completely desaturated. This was completed by using the tracking tool to isolate the hands and face from the image, before adjusting as needed.

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Lucy Chapman 08052024 Hilsea Lines - signed

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Portsmouth City Council - Filming Permit

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Portsmouth City Council - Filming Permit

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In Catholic theology, "limbo" historically referred to a theoretical realm or state of existence for souls who died in original sin but were not guilty of any personal sin. It was seen as neither heaven nor hell, but rather a realm of basic contentment. Beyond religious and academic discussions, "limbo" frequently serves as a metaphor for a state of ambiguity, stasis, or being in-between.

In our film, we have chosen to portray the forest as its own 'limbo', in which our subject has found herself trapped inside. This could be interpreted that she has died, and is travelling to the afterlife, or perhaps she has yet to be judged.

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The final step in the post-production process was to add text, helping to solidify our narrative by including the poem in the film. This gives further context to the audience as our subject is seen exploring the mysterious forest she finds herself in.